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After spending the past few years as something of a journeyman, it comes as no
surprise that Kirin J Callinan’s second album, Bravado, is a creation with few
boundaries.
What does come as a surprise, even for those who have come to expect the
unexpected from Kirin, is the stylistic direction undertaken on Bravado. With
his 2013 debut album Embracism, Kirin emerged as a firebrand guitarist,
pushing the instrument’s capabilities to logical extremes. On Bravado,
industrial macho menace has been relegated to the side-lines. In its place?
Unabashed EDM euphoria.
Slow-burning adoration garnered by Embracism fuelled something of a multiyear
voyage for Kirin J Callinan. Like all good adventures, Bravado isn’t so
much about the setting, but the people met along the way.
The paradox of Kirin J Callinan is that of being recognised by peers as an artist
without peer, resulting in an almost irresistible tractor beam for meaningful
collaboration. After presenting as a singular figure on his debut, Kirin now
celebrates newfound and longstanding alliances on Bravado’s tracklist with an
eclectic cast of featured guests.
Likeminded contemporaries such as Mac DeMarco, Weyes Blood, Connan
Mockasin and Alex Cameron stand alongside iconic Antipodean voices Neil
Finn and Jimmy Barnes. It’s an act of parlaying mutual respect into creation.
Jimmy Barnes gifted his world-conquering vocal to ‘Big Enough’ after Kirin
penned a heartfelt letter requesting the services of the “most iconic scream in
rock history”. Barnesy obliged with an above-and-beyond ear-bursting wail
(complemented by the tranquil tones of champion whistler Molly Lewis).
An overt sense of togetherness imbues Kirin’s prior exploration of sex and
death with a celebratory tone, contrasting with the previous album’s isolated
aggression. Amongst the exaggerated EDM drops and sentimental balladry, a
sincere form of humanity prevails.
The core collaboration at the heart of Bravado is that of Kirin and the album’s
producer, Aaron Cupples (The Drones, Paul Kelly, Dan Kelly). The creative
partnership came about in London, Kirin being introduced to the producer by
operatic songstress Sophia Brous, initially to record a duet cover of k.d. lang’s
‘Constant Craving’ for a mutual friends wedding. Since that moment, Kirin
lived with & worked alongside Aaron throughout the recording process for
Bravado.
“I’m jacked on how international the record feels,” Kirin states. Bravado
extends its scope beyond the locations visited during its creation. With the bulk
of the album’s creation taking place in London, new elements were added
during North American tours and back home in Australia. The result isn’t
anchored to any geographical location, conveying a united globe in celebration.
The over-arching tone on Bravado is defiantly triumphant. “I had a lot of selfdoubt
whether the timing is right,” Kirin says. “It may have been too soon a
year or two ago. But I think now, more than ever, it’s a time to celebrate the
good things, to celebrate each other. Not that the world is necessarily lookin’ to
me for the answers… just yet”
For all the album’s universal characteristics, Kirin still calls Sydney home.
While newfound influences are at the fore of the record, Kirin’s long standing
reverence for Australia’s great songwriting history shines through. ‘Friend Of
Lindy Morrison’ pays homage to the legendary Go-Betweens drummer.
A distinct brand of wry humour, an extension of Kirin’s character, threads
Bravado. It’s there on the cover: achieving sincerity while taking the piss,
without it being contradictory. The nature of this spectrum makes Bravado
impossible to pigeonhole. The record often employs lowbrow sonic devices as a
bait and switch, rewarding a look beyond the gaudy window dressing.
Late last year, Kirin was hand-picked by Crowded House as special guest for
their four night landmark return to the Sydney Opera House forecourt. Kirin has
just been announced on the 2017 lineup for Splendour In The Grass, and is also
starring in season two of the critically acclaimed & Emmy Award winning Jane
Campion drama Top Of The Lake, due for release in 2017.